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A Gentle Touch. 




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DICK & HTZGERALD, Publishers, 
NEW YORK. 






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A GENTLE TOUCH 



P uJeville Sketch in One Act 



By KATHARINE KAVANAUGH 

Author of ''A Converted Suffragist," "A Stormy Night," "The 
Wayfarers," "A Bachelor's Baby," etc. 



COPYKIQHT, 1912, BY DiCK & FiTZGERALD 



NEW YORK 

DICK & FITZGERALD 

18 ANN STREET 




F535Z] 

A GENTLE TOUCH 



CHARACTERS 

Major Tuttle Who was young once himself 

Beatrice DeVere Of the chorus 



Time of Playing — ^About thirty minutes. 



INCIDENTAL PROPERTIES 
Key, cheque book and fountain pen for Major Tuttle. 



STAGE DIRECTIONS. 

As seen by a performer on the stage facing the audi- 
ence, R. means right hand; l. left hand; c. center of stage. 
D. R. door at right; d. l. door at left; r. c. right of center. 
UP, means toward rear of stage; down, toward footlights. 



©CLD 30445 



A GENTLE TOUCH 



Scene. — Boom nicely furnished hut showing a man's 
taste. Broad table r. c. holding a few magazines. 
Chairs. A cellarette or sideboard up l. filled with 
liquors, glasses, cigars and cigarettes. A piano l. A 
fire place and mantel r., a number of photographs on 
mantel, presumably of actresses. Sofa pillows with 
Yale college colors. A letter, paper and pencil on table. 
Doors R. and l. Time, Evening. 

ENTER Major Tuttle d. l. talking hack to some one 
off stage. 

Major. Yes, I know he isn't at home. I'll go in and 
wait for him. (Closes door and comes down stage, holding 
key in hand. Laughs) That was a lucky thought of 
mine the last time I was here, to carry the key home with 
me. I bet that nephew of mine hasn't the least idea in 
the world what became of it. (Puts key in pocket) Well, 
you can't get ahead of the old fellows. I was young once 
myself. Now, let's have a look around. (Glances around 
the room) Ah-hah — just as I thought. The young rascal. 
{Takes a photograph and looks at it) Photographs of 
actresses. (Glances at sideboard) A sideboard stocked 
with liquors and cigars. (Picks up letter from table) 
Hello, what's this? A note addressed to Beatrice. Huh — 
must be expecting a lady. Well, I'll be cornswabbled. 
If that don't beat all. I thought he was too darned sancti- 
monious on my last visit. And this room, why, bless me, 
I hardly recognize it, it was so barely furnished. And 
cigars and liquors! ''Oh, no, dear uncle, I never touch 



4 A Gentle Touch 

them." I thought he was too good to be true. That's 
why I stole his key, and at my first opportunity came 
back to town to take him by surprise. This is the way 
he really lives. He doesn't know that I'm in town, and 
he is off his guard. Goes to show what a fool I was to 
always let him know in advance when I was coming. 
{Punches Yale sofa pillow) Now what is he doing with 
the Yale colors. He went to Princeton. He can't even 
be true to his own college. He's a fraud through and 
through. I wonder what that other room looks like. I 
think I'll go and investigate. {Going off d, b.) The young 
hypocrite. 

ENTER Beatrice DeVere d. l. and comes down c. 

Beatrice. Oh, Algy, where are you? I'm here — 
Beatrice, you know — and I'm hungry for that little sup- 
per you promised me. {Glances toward d. r.) He's 
primping, I suppose. I declare some men are v/orse than 
women. {Goes to table) Hello, what's this? {Takes let- 
ter and opens it, reads) "Dear Beatrice, I'll have to call 
the supper off. Have had a wire to go out of town. Will 
make up for it some other evening. Don't be angry. 
Dearie." {Tosses the letter on table) Well, I never. After 
me throwing down a perfectly good invitation to dine at 
Rector's to come here and have supper with him. Now, 
I'll have to go hungry, for I haven't got thirty-five cents 
to my name. {Looking into her bag) And I'm all dolled 
up too. Put on the best rags I could beg, borrow or 
steal. Even came down in a taxi, because I felt sure I 
could touch Algy for a case note, and now he's knocked it 
all in the head. Gee, it makes me sick to think I am all 
dolled up like this, and nobody here to appreciate it. 

ENTER Major, d. r 

Major. Hello — a lady! 
Beatrice. Oh, look who's here. 
Major. I beg your pardon, Miss, did you want to see 
me? 



A Gentle Touch 5 

Beatrice. Well, not particularly, but as long as 
you're here, you can stay. 

Major. Thank you. As I am in my nephew s rooms, 
I feel at perfect liberty to do so. 

Beatrice. Your nephew? Great Scott, I didn't know 
Algy had an uncle. 

Major. Oh, is that what he told you his name was? 
He's been lying to you too, has he? 

Beatrice. Well, he's a man. What can you expect? 

Major. I feel it my duty to undeceive you. My 
nephew's real name is Thomas Uriah Tuttle. 

Beatrice. Gee. Who wished it on him? 

Major. He was named after me. 

Beatrice. You don't look it. And these are your 
nephew's rooms? 

Major. They are. 

Beatrice. There's a mix-up somewhere, but it am't 
my funeral. 

Major. May I ask your name and the object of your 

visit? 

Beatrice. Sure. I'm Beatrice DeVere, late of the 
Midnight Follies Company, at present resting. I was 
invited here to have supper with Algy. 

Major. You mean Thomas Uriah. 

Beatrice. Have it your way. He had a wire to go 
out of town, leaving me high and dry and thirsty. 

Major. Allow me to offer you a drink. {Goes up to 

Cpll(lV€fttc) 

Beatrice (down l.). This old guy is in wrong and 
don't know it. I'm going to work the game for all that's 
in it. Wonder what Algy will say. 

Major {comes down stage with wine glass, offers it to 
Beatrice). In my young days, a girl of your age was 
not allowed to drink things like this, but I suppose times 
have changed. 

Beatrice. They sure have, Senator. {Takes glass) 

Major. Major. 

Beatrice. Major then. I knew you had a title. 
You're so distinguished looking. 

Major. Do you think so? 



6 A Gentle Touch • 

Beatrice. Knew it the minute I spotted you. 

Major. You should have seen me thirty years ago. 

Beatrice. Couldn't. I wasn't born then. You look 
good to me now. 

Major. I used to cut a figure in those days. I tell 
you! Why, there wasn't a ball or party that Tommy 
Tuttle didn't attend. And the ladies — oh, say, they were 
wild about me. 

Beatrice. You don't tell me! Well, I beheve it. 
You know, my heart commenced to flutter as soon as I 
looked at you. 

Major. Nonsense, child. Why, I wouldn't know how 
to make up to the ladies of the present day. The customs 
have changed since I was a youngster. They don't do 
things as they used to. 

Beatrice. In the olden days? 

Major. In the golden days. {The Major mid Bea- 
trice sing the following words in an impromptu manner ^ 
suiting the action to the words. Any lively melody to suit the 
words. Can he omitted if desired.) 



SONG 

Major. In the olden days, 

Beatrice. In the golden days, 

Major. When men and maids were different. 

Beatrice. What did they do? What did they say, 

When a man on making love was bent? 
Major. He would meet a lady, young and fair, 
Beatrice. With deep blue eyes and golden hair? 
Major. Then on his knees he would fall and plead. 
Beatrice. And in her eyes his answer read. 
Both. In the olden, golden days. 

Beatrice. But in these present days, these pleasant 

days. 
Major. The modes and ways have changed a bit. 
Beatrice. A man will meet a girl today, 
Major. Tomorrow to the church away. 



A Gentle Touch 7 

Beatrice. A month will pass, perhaps a year, 
Major. And Cupid sheds a silent tear. 
Beatrice. Out to Reno, fastest train, 
Major. They are both divorced again, 
Both. In these present, pleasant days. 

Major. Ah, I'm not as young as I used to be. 

Beatrice. But you're all right, Colonel. Take it 
from me. 

Major. Major, my dear. 

Beatrice. You win. I wish Algy was more Hke you. 

Major. You mean Thomas Uriah. 

Beatrice. He has always led me to believe that his 
name was Algy Jones. 

Major. He has been deceiving you, my child, just 
as he has me. He is supposed to be here in New York 
studying mechanical engineering — 

Beatrice (laughs). Oh, la, la. Mechanical engineer- 
ing! That sounds a heap like Algy — not! 

Major. The rascal sends me weekly reports of his 
progress — how many hours he studies — how many hours 
he works — 

Beatrice. Works! Oh, Admiral, you're off your 
course. 

Major. Major, my dear. Think of the deceit of him. 
I visited him a month ago for the first time, right in thepe 
very rooms, but I was foolish enough to write in advance 
that I was coming. He had everything prepared. The 
room was almost bare of furniture, only a reading table 
and student's lamp, a couch and a chair or two. As for 
liquors and cigars — he swore he never touched them. I 
suspected that he was deceiving me. So when I left I 
took the key to these rooms, and to-day I came unan- 
nounced. I thought I'd catch him off his guard, and this 
is what I find. 

Beatrice. You haven't been here for a month? I'm 
beginning to see daylight. Tell me, Capt., why do you 
take such an interest in this nephew of yours? 

Major. Major, my dear. Simply because he is de^ 
pendent on me for every dollar he has, and will be my 



6 A Gentle Touch 

heir when I peg out. I send him as high as fifty dollars a 
month regular. 

Beatrice. Fifty a month! (Aside) Algy spends 
that in a day. (To Major) I wonder what he does with 
all that money? 

Major. Gives dinners to pretty girls occasionally. 

Beatrice (laughs). Caught me that time, didn't you. 

Major. Not that I object, my dear — don't misunder- 
stand me. I am almost glad to discover that he is not 
such a muff as I thought. I know I'm old fashioned, and 
I don't understand the ways of this great city, but it does 
seem strange to me to see a young lady without a chaperon, 
calling at the rooms of a man friend. 

Beatrice. A chaperon? Oh, Governor, don't spring 
that again. I'll faint. A Broadway chorus girl with a 
chaperon. Oh, Mama. 

Major. The idea amuses you. And yet you seem a 
nice girl. 

Beatrice. Why, bless your heart. Commodore, I'm 
all right, and as to my reputation, why nobody pays any 
attention to a small thing like that. A chorus girl is a 
chorus girl, whether she's good, bad or indifferent; in the 
opinion of the dear public they are all alike, so you see I 
don't have to worry on that score. 

Major. But you are a good girl, aren't you? 

Beatrice. Oh, just about the average. I've been 
buttin' around on my own hook since I was fifteen, trying 
to make a living for myself, and sending enough home to 
keep the mortgage off the farm. 

Major. How did you meet my nephew? 

Beatrice. Algy? Oh, he got me my first job in the 
chorus; then he lent me money to get some duds — 

Major. What? 

Beatrice. Some clothes — glad rags — I couldn't ap- 
proach a manager looking hke a second edition of Sis 
Hopkins. You know, I was a country girl before I came 
to New York. 

Major. Ah, there's where you got those rosy cheeks. 

Beatrice. Off again, Officer. I got these at Hage- 
man's. 



A Gentle Touch 9 

Major. Tell me something of your home life, won't 
you? 

Beatrice. Well, you see, there were sixteen of us — I 
was the oldest — father died before I was born — 

Major. But, my dear — 

Beatrice. Oh, that's so — wait a minute — I was 
thinking of the family across the street from us — 

Major. The street? But you said you lived on a 
farm. You mean road. 

Beatrice. You're right. I always did get them mixed. 
The farm was mortgaged — 

Major. Mortgaged. My, that's bad. 

Beatrice. Well, things went from bad to worse, until 
it got to the point where we only had chicken for dinner 
three times a week; the other days we had to be satisfied 
with steaks and roasts. We were almost starving, when I 
says to Mom, "Mom," I says, "I'm going to v/ork, if it 
kills me." So Mom gave me a hundred dollars, and I 
came to this great, cruel city. In a week my hundred 
dollars was gone, and I met Algy. He got me my first 
place in the chorus of a Broadway show at $25 a week. 
On this miserable pittance I have been trying to keep 
body and soul together, besides helping the old folks at 
home. — (Beatrice tells the story in a pathetic manner and 
as she finishes, touches her eyes with handkerchief) 

Major. My daar child, don't let your sad experience 
affect you so. It makes me unhappy to see a girl of your 
tender years trying to make her own way all alone in a 
city like New York. I want to help you. I want to send 
you back on the farm. 

Beatrice (takes handkerchief from eyes, and shouts 
dramatically). No, no. Don't send me back there — 
don't send me back. Don't you understand? I can't 
face them all until the mortgage is paid off. I am their 
only support — their only hope. 

Major. How much is the mortgage? 

Beatrice (taken by surprise). Huh? 

Major. How much still remains to be paid? 

Beatrice. Five hundred dollars. 

Major. Then it shall be paid. (Takes cheque hook and 



10 A Gentle Touch 

fountain pen from pocket) I'm going to save you before it 
is too late. Who knows but what I may be saving a soul. 
It is cheap at the price. {Is making out cheque) 

Beatrice. Oh, sir, you are too easy — I mean, you 
are too kind. 

Major, {tearing cheque from hook) If I had a daughter 
Hke you I'd want some one to do as much for her. Go 
home, pay off the mortgage, and stick to the old folks at 
home. 

Beatrice. {Takes cheque) How can I ever thank you? 

Major. By never coming to this big wicked city 
again. Now, go before that rascal of a nephew of mine 
returns. 

Beatrice. I'll go. {Starts slowly up stage towards 

D. L.) 

Major. Wait. Write him a note saying you will 
never see him again. Come. Will you? 

Beatrice. Yes. {Sits at table, quickly writes a note, 
folds it and puts on table. As she writes she reads) 

''Dear Algy. You have deceived me. Your uncle has 
saved me, and I am going home to mother. I will never 
see you again." There. {Starts again towards d. l., turns 
and takes Major's hand) Goodbye, and God bless you. 
You don't know what you've done for me, but you will 
soon. {Goes to d. l., turns, and sadly says) Goodbye. 

[EXIT D. L. 

Major {shakes his head sadly). Poor little thing. So 
young and so unable to take care of herself. {Picks up 
note and begins to read) ''Dear old Sport. Thanks for 
the $500. I don't know your nephew and don't want to. 
These are the rooms of Algy Jones. Take a sneak before 
he returns. Your nephew moved last week." {The 
Major gasps for breath, crumples the note, throws it to the 
floor, and flops into chair c' 

Major. Stung ! 

CURTAIN 



BY THE ENEMY'S HANDS 

MILITARY DRAMA IN FOUR ACTS 
By GORDON V. MAY 

PRICE 25 CENTS 

Nine male, four female characters, including a colonel and two army 
officers, a corporal and army surgeon, a clerical missionary, a doctor, Indian 
chief and a camp follower. The colonel's daughter and maidservant, the 
Indian chief's daughter, and an elderly temperance reformer. Time of 
playing, 2 hours. 3 interior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — The betrothal. Alice starts for Fort Clinton. Love and 
jealousy. The stolen dispatch. The dastardly scheme. Capture by Indians. 
The arrest. 

Act II. — Plot of the captain and Indian chief. The rescue. The inter- 
rupted marriage. The broken parole. 

Act III. — Dolphie and Susie. The court martial. The accusation. 
Indian attack on the fort. The prison door shattered. Recapture of the 
fort. 

Act IV. — ^The plot unravelled. The lieutenant triumphant. 



The Great Winterson Mine 

Rural Comedy in Three Ads 
By Gordon V* May 

PRICE 25 CENTS 

Six mab, four female characters, as follows: The old farmer, an artist, 
two comedy parts, a genteel rascal and his pard, the farmer's wife, sister 
and daughter and a tricky maidservant. Time of playing, 2 hours. An 
intensely dramatic attempt of two rascals to plunder and ruin the old 
farmer. 2 interior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — A new way to pick cherries. Jenkins proposes his scheme. It 
works. The greatest invention of the age. 

Act II. — The rehearsal. Uncle Eb falls into the trap. Ten thousand 
dollars. Unsuccessful suicide. Sausages. The machine won't work, 
"Why, it's a dog." 

Act III. — Jenkins and his pard. Temptation. The trrest. A surprise 
party. "Strike up a reel." 



AUG 6 1912 

OAK FARM 

COMEDY DRAMA IN THREE ACTS 

By ANTHONY E. WILLS 
PRICE 25 CENTS 

Seven male, four female characters, being first old man, leading man, 
comedy, character heavy, three comedy characters; first old lady, leading 
lady and two lady comedy characters. Time of playing, 2V2 hours. 

SYNOPSIS OF INCIDENTS. 

Act I. — Scene, room in the Weatherby home. Oak Farm. Donald 
departs for college. The farm mortgaged. Donald and Helen betrothed. 
The rain agent. Joel and Sally. Prune, postmaster and money lender. 

Act II. — Scene, the same, three years later. The intercepted letters. 
"Why does not Donald write?" The old maid's switors. Prune's rascality. 
The mortgage due. 

Act III. — Same scene, two months later. Prune unmasked. The old 
maid's stratagem. The stranger's offer declined. "I am Donald." Joy at 
Oak Farm. 

ESCAPED FROM THE LAW 

COMEDY DRAMA IN FIVE ACTS 

By C. WALCOTT RUSSELL 

PRICE 25 CENTS 

Seven male, five female characters. The owner of a factory, his super- 
intendent, a French scientist, a physician, an English kbor agitator, gardener 
and butler. The owner's wife and daughter, his partner's widow, a maid- 
servant, a neighbor and a policeman. A labor agitator's plot to promote a 
strike and burn the owner's house. Time of playing, 2^2 hours. 3 interior 
and I exterior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — Morning. The Irishman and the anarchist. The doctor recog- 
nizes and exposes the woman from Martinique. 

Act II. — Evening. A wife's confession. Flight. 

Act III. — Three weeks later. The dying child. One of Nature's noble- 
men. The plot to burn the factory. "Your silence or your life." 

Act IV. — The widow and the superintendent. The house surrounded 
by rioters. The telegraph message. The wires cut. 

Act V. — :A wife's sacrifice and husband's remorse. The rioters dis- 
persed. Home and love once more. 




^^SSSSSSSSSJ' 




MILITARY PLAYS 

25 CENTS EACH 

BY THE ENEMY'S HAND. 4 Acts; 2 hours lo' 4 

EDWARDS, THE SPY. 5 Acts; 2}4 hours 10 4 

PRISONER OF ANDERSONVILLE. 4 Acts; 2f| hours.. 10 4 

CAPTAIN DICK. 3 Acts; IJ^ hours 9 6 

ISABEI., THE PEARL OF CUBA. 4 Acts; 2 hours 9 3 

LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2i^ hours 9 3 

BETAVEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 



RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 2^ hours 9 3 

AMONG THE BERKSHIRES. 3 Acts; 2M hours 8 4 

OAK FARM. 3 Acts; 2^ hours; 1 Stage Setting 7 4 

GREAT AVINTERSON MINE. 3 Acts; 2 hours 6 4 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2% hours 5 2 

AVHEN A MAN'S SINGLE. 3 Acts; 2 hours 4 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; Ihour... 6 3 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 1 



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AUNT DINAH'S QUILTING PARTY. 1 Scene 5 11 

BACHELOR MAIDS' REUNION. 1 Scene 2 30 

IN THE FERRY HOUSE. 1 Scene; IJ^ hours 19 15 

JAPANESE WEDDING. 1 Scene; 1 hour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; 1^ hours 4 4 

YE VILLAGE SKEAVL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (15 cents.) 1 Act; ]i^ hours 1 13 

OVER THE GARDEN AVALL. (15 cents) 11 



D!CK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



$SSS$SSS$SSS$$SS§SSS§SS$5S$$S$S$$$SS$ 





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25 CENTS EACH 

M. P. 

BREAKING- HIS BONDS. 4 Acts; 2 hours 6 3 

BUTTERNUT'S BRIDE. 3 Acts; 2}^ hours .,11 6 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9. 3 

COUNT OF NO ACCOUNT. 3 Acts; 2}4 hours 9 4 

DEACON. 5 Acts; 23^ hours 8 6 

DELEGATES FROM DEI^'VER. 2 Acts; 45 minutes 3 10 

DOCTOR BY COURTESY. 3Act8;2hours 6 5 

EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 

ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 

GIRL FROM PORTO RICO. 3 Acts; 2i^ hours 5 3 

GYPSY QUEEN. 4 Acts; 2% hours 5 3 

IN THE ABSENCE OF SUSAN. 3 Acts; li^ hours 4 6 

JAILBIRD. 5 Acts; 21^ hours 6 3 

.JOSIAH'S COURTSHIP. 4Acts;2hours 7 4 

MY LADY DARRELL. 4 Acts; 2)^ hours 9 6 

MY UNCLE FROM INDIA. 4 Acts; 2i^ hours 13 4 

NEXT DOOR. 3 Acts; 2 hours 6 4 

PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 

REGULAR FLIRT. 3 Acts; 2 hours 4 4 

ROGUE'S LUCK. 3Acts;2hour8 5 3 

SQUIRE'S STRATAGEM. 5 Acts ; SJ^ hoars 6 4 

STEEL KING. 4 Acts; 2i^ hours 5 3 

WHAT'S NEXT? 3 Acts; 2}^ hours.. 7 4 

WHITE LIE. 4Act8; 2}^ hours 4 3 




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GOLDEN GULCH. 3 Acts; 2^ hours 11 3 

RED ROSETTE. 3Acts; 2 hours 6 3 

MISS MOSHER OF COLORADO. 4 Acts; 2i^ hours . .. 5 3 

STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 4 

CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 2^| hours. 9 3 

DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 


















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